WHITNEY MUSEUM OF AMERICAN ART A HISTORY OF AMERICAN WATERCOLOR PAINTING JANUARY 27 TO FEBRUARY 25 -1942 TEN WEST EIGHTH STREET NEW YORK A HISTORY OF AMERICAN WATERCOLOR PAINTING tV it it it it it A HISTORY OF AMERICAN WATERCOLOR PAINTING * JANUARY 27TH TO FEBRUARY 25TH, 1942 WHITNEY MUSEUM OF AMERICAN ART TEN WEST EIGHTH STREET • NEW YORK Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/historyofwatercolorOOwhit O R E W O R D T^HIS EXHIBITION, the first survey of American watercolor painting to be attempted on so extensive a scale, begins with the nineteenth century when the resources of the medium were becoming more fully realized. Earlier exam- ples, of some possible historical interest, but of little aesthetic value, have been omitted. Throughout the exhibition, from the first days of the last century to the present, emphasis has been placed on the work of those artists considered to be most characteristic of their times. Groups of paintings by outstanding exponents of the watercolor medium, instead of single examples by many artists, give a broad rather than a detailed account of a subject which, in the light of contemporary taste and practice, is today assuming an increasing significance. In assembling the exhibition the effect of the war was felt to some extent in the quite justifiable reluctance of some collectors to risk their pictures at this time. In most cases, however, our requests for loans were granted in a most generous and courageous spirit. To the institutions and private collectors whose cooperation made this exhibition pos- sible, and to the many individuals whose advice and information were of inestimable value, the Museum extends its sincerest thanks. Juliana R. Force Director ACKNOWLEDGEMENTS The Whitney Museum of American Art wishes to make grateful acknowledgment to those who have assisted in various ways in assembling the exhibition, and to the Museums and Collectors who have generously contributed works as loans. THE ADDISON GALLERY OF AMERICAN ART ALBANY INSTITUTE OF HISTORY AND ART ALBRIGHT ART GALLERY AMERICAN ANTIQUARIAN SOCIETY AN AMERICAN PLACE ANTIQUARIAN AND LANDMARKS SOCIETY OF MR. BARTLETT ARKELL MR. EDWARD W. C. ARNOLD ASSOCIATED AMERICAN ARTISTS BABCOCK GALLERIES MR. JOHN I. BAUR MISS MARIA W. BLANCHARD MUSEUM OF FINE ARTS BOWDOIN MUSEUM OF FINE ARTS THE BROOKLYN MUSEUM CANAJOHARIE LIBRARY AND ART GALLERY MRS. MARIAN SADTLER CARSON THE ART INSTITUTE OF CHICAGO MR. JOHN J. CLANCY CLEVELAND MUSEUM OF ART MRS. ALGERNON COOLIDGE MR. EDWARD COYKENDALL MRS. AARON DAVIS DURAND-RUEL, INC. 6 Andover, Mass. Albany, N.Y. Buffalo, N. Y. Worcester, Mass. New York, N.Y. CONNECTICUT New London, Conn. New York, N. Y. New York, N. Y. New York, N. Y. New York, N. Y. Brooklyn, N. Y. New York, N. Y. Boston, Mass. Brunswick, Maine Brooklyn, N. Y. Canajoharie, N. Y. Bryn Mawr, Pa. Chicago, 111. New York, N. Y. Cleveland, Ohio Boston, Mass. Kingston, N. Y. New Rochelle, N. Y. New York, N. Y. MR. GEORGE J. DYER MR. HERSEY EGGINTON MR. ARTHUR F. EGNER MRS. WILLIAM C. ENDICOTT FOGG MUSEUM OF ART, HARVARD UNIVERSITY MR. GEORGE GROSZ HARVARD COLLEGE LIBRARY MR. J. D. HATCH, JR. KENNEDY & COMPANY M. KNOEDLER & COMPANY MR. AND MRS. JOHN KRAUSHAAR MRS. BANCEL LA FARGE LAWRENCE ART MUSEUM, WILLIAMS COLLEGE MR. ROBERT E. LOCHER DR. HENRY H. M. LYLE MACBETH GALLERY MRS. R. S. MAGUIRE MR. FRANK JEWETT MATHER, JR. MISS GRACE M. MAYER MRS. ROGER B. MERRIMAN THE METROPOLITAN MUSEUM OF ART MILCH GALLERIES MR. CHARLES E. MILLS MISS RUTH B. MORAN MUSEUM OF THE CITY OF NEW YORK MUSEUM OF COMPARATIVE ZOOLOGY MUSEUM OF MODERN ART MR. STEPHEN K. NAGY MR. HARRY SHAW NEWMAN NEWPORT HISTORICAL SOCIETY Norfolk, Conn. Garden City, N. Y. South Orange, N. J. Boston, Mass. Cambridge, Mass. I )<mglaston, L. I. Cambridge, Mass. Albany, N. Y. New York, N. Y. New York, N. Y. Hartsdale, N. Y. Mount Carmel, Conn. Williamstown, Mass. Staten Island, N. Y. New York, N. Y. New York, N. Y. New York, N. Y. Washington Crossing, Pa. New York, N. Y. Cambridge, Mass. New York, N. Y. New York, N. Y. Dedham, Mass. New York, N. Y. New York, N. Y. Cambridge, Mass. New York, N. Y. Philadelphia, Pa. New York, N. Y. Newport, R. I. THE OLD PRINT SHOP, INC. MR. FRANK OSBORN MR. WILLIAM PALEY PEABODY MUSEUM OF SALEM HISTORICAL SOCIETY OF PENNSYLVANIA MR. BASIL PETROV THE PHILADELPHIA MUSEUM OF ART PHILLIPS MEMORIAL GALLERY MR. CHARLES PRENDERGAST MR. FREDERIC NEWLIN PRICE FRANK K. M. REHN GALLERY MUSEUM OF ART, RHODE ISLAND SCHOOL OF DESIGN MR. E. P. RICHARDSON MRS. JOHN D. ROCKEFELLER, JR. MR. CHARLES ROSENBLOOM MR. EDWIN A. SEASONGOOD MR. AND MRS. LESLEY G. SHEAFER MR. THEODORE SIZER MR. ALFRED STIEGLITZ ESTATE OF MRS. CARL STOECKEL MR. ROBERT GWYNNE STOUT SYRACUSE MUSEUM OF FINE ARTS THE TOLEDO MUSEUM OF ART MR. VICTOR MORRIS TYLER WADSWORTH ATHENEUM MR. MAX WEBER MRS. ROBERT WHEELWRIGHT WOOD ART GALLERY WORCESTER ART MUSEUM GALLERY OF FINE ARTS, YALE UNIVERSITY 8 New York, N. Y. Manchester, Vt. New York, N. Y. Salem, Mass. Philadelphia, Pa. New York, N. Y. Philadelphia, Pa. Washington, D. C. Westport, Conn. New York, N. Y. New York, N. Y. Providence, R. I. Detroit, Mich. New York, N. Y. Pittsburgh, Pa. New York, N. Y. New York, N. Y. New Haven, Conn. New York, N. Y. Norfolk, Conn. Ardmore, Pa. Syracuse, N. Y. Toledo, Ohio New Haven, Conn. Hartford, Conn. Great Neck, L. I. Wilmington, Del. Montpelier, Vt. Worcester, Mass. New Haven, Conn. INTRODUCTION ALTHOUGH a watercolor is in fact anything painted in colors with water /■A as the medium, in common meaning it is limited to such a painting winch X Jl. is done on paper, with the further limitation, currently held, that the colored washes should be more or less transparent and that the paper should show white in certain areas. The present exhibition, containing only watercolors done on paper, excludes water- color miniatures done on ivory. But it does include paintings in gouache — colors ground in an opaque filler — as well as sketches which could be more accurately called tinted drawings. The exclusion of miniatures must be allowed, since these articles of jewel-like size and minute finish, which were often intended to be worn as pendants or brooches and which have a history of their own, would be lost upon the walls of a gallery when mingled with the larger and more varied works representing the full range of painting in watercolor in America. For that reason certain small portraits on paper by Jarvis, Inman, Sully, St. Memin and Elliott have been excluded. These are the size and type of miniatures, rather than small scale portraits like Vanderlyn's "Woman and Child," painted in France — a unique example, as is Sully's small preparatory sketch in water- color (Walters Gallery, Baltimore) for the life-size portrait of Charles Carroll. Otherwise the broadest interpretation has been given to the meaning of the word watercolor. It would be impossible to limit the exhibition to the kind of work called "pure" without eliminating much that is important, historically as well as aesthetically. It is necessary to include the magnificent studies of Audubon, many of which are a combination of watercolor and crayon, the decorative work of Corne, some of it done in imitation of wallpaper, and also the two small eighteenth-century sketches which are exhibited: one of them by Mather Brown being a toned drawing, while the other by Copley is typical of his work in England after he became in fact a British artist. The variety of uses found for watercolor in an early period cannot be illustrated without these examples, which supplement the carefully drawn views (resembling colored engravings) and the particular visual records, real or romantic, or merely intimate and unassuming, like those of James Peale, Jr., which constitute the full range of the medium before Winslow Homer and others began to experiment with it. The comparative scarcity of professional watercolors at an early date demands some explanation. In the first quarter of the century, when portraits were most in demand, the watercolor technique, traditionally confined to miniature painting, could not com- pete with oils and crayons in the production of impressive, full-scale likenesses. It was essentially the medium of amateurs. John Laporte's "Fourteen Tinted Lessons," show- ing the progress of "A Water Coloured Drawing" so as "to Enable Young People to Cultivate the Delightful Art," typifies the approach. Following these, or equally simple directions, acquired at first or second hand, school-girls were able to paint views, illus- trations and still-life. Some of them must have used cut-out patterns (templates) to shape vases and fruit neatly, since there is much duplication of curves in their work. Others were helped by their school-mistresses, as was Mary Ann Bacon who wrote in her journal in 1802: "Miss Pierce drew my landscape," and who also noted the reasons why a taste for drawings should be indulged : "It will agreeably exercise your ingenuity and invention, it will teach you to discover a superior finish in all the varied landscapes and scenery of nature, to survey the works of our distinguished masters with an higher relish and a more poignant curiosity and it will heighten all the innocent pleasures of your retirement when nature howls with wind." Cornelia Ludlow probably had a more professional training, since she was a pupil in what appears to be one of the first art schools in the United States, the Columbian Academy of Painting, run by the miniature painters, the brothers Alexander and Archi- bald Robertson. Perhaps the fact that the school also had courses in architecture and ship-building helps explain how Miss Ludlow avoided painting in a miniaturist's style. It was not unusual for grown men, young clerks, students and farmer boys to paint watercolors for amusement. Their "portraits" of streets and houses, or embellished note- books, are occasionally preserved in historical collections. Professional careers sometimes began in this fashion, as did that of Alexander Wilson, the ornithologist who anticipated Audubon. He painted naive little views, two of which are owned by the Museum of Comparative Zoology, Harvard University, before he acquired the skill to portray the beautiful "Ruffed Grouse" here exhibited. It is worth noting that this future master of a precise art began painting like any amateur, Dr. Orne, for example, who did a view of Washington Street, Salem (Essex Institute, Salem) about 1765. The peculiar char- acter of the amateur is timeless and universal. Professional painters often retained some of that character, as did David C. Johnston, called "the American Cruikshank," whose work was widely appreciated in the form of lithographic prints. He did not imitate the British caricaturists, nor was he limited to any particular subject-matter. Along with serious book illustration he did landscapes in watercolor, several of them suggesting knowledge of Turner's work, perhaps by way of book illustrations, while others are transcripts of actual places. When his sketches "came off," probably no one was more surprised than the artist. This naivete, which may make an engaging impression on us, contrasts with the quiet assurance and steady skill with which Krimmel painted genre scenes in Philadelphia about the time Johnston was there as a student of engraving. Krimmel, it should be explained, was trained abroad. Or consider the landscape sketches by Trumbull and Dunlap. The cautious sim- plification of Trumbull's English view suggests the amateur's point of view. And Dunlap's work is frankly amateurish and informal. Even the versatile Inman's "View of the Battery" is naive in effect, in spite of its professional brushwork. The first professional style of using watercolors in this country coincides with the growth in popularity of landscape painting and recalls the "antiquarian spirit and topographical taste" of the English watercolorists of the eighteenth century, who washed neat tones over precisely drawn details. The water medium may have seemed particularly appropriate because it reproduced the effects found in colored engravings. At any rate it was adopted for the presentation of particular views which were appre- ciated as records of the growth and embellishment of cities, parks, estates and business 10 enterprises. Those who did the work, if not English trained, mo .n least influenced by the English style, as Were the Irish-horn Wall and Uarralet. The Italian CalyO, a versatile artist who did novel work in genre, utilized that mode ol painting "pros pects." George Harvey also, although his miniaturist's technique and sensitiveness to effects of wind and weather set him apart. J. W. 1 hll, trained as an engraver to com- pose with clarity and neatness, had a personal appreciation oi pale sunlight and textures, which in his later work led him almost to impressionism; his still lite- oi "Smoked Herring" (Fogg Museum of Art) is almost post impressionistic. Thomas Birch, painting from nature sharply and distinctly, was poetically interested in nuances of tone. This early type of work, factual in aim, became romantic after the middle of the century. The simple technique of drawing and toning became a complex treatment of cross-hatching, stippling, erasing and heightening with Chinese white mixed with gum. An article in the Bulletin of the Art Union in 1851 gave instructions for land- scape painting in watercolor and explained how to use a soft sponge, an old silk handkerchief, a piece of soft wash leather, an eraser, and a sharp knife for scraping, besides how to make various kinds of washes with different sizes and types of brushes. The artist had a large choice of several dozen shades of color in dry cake, or moist cake form, as well as in tubes. All this, and the effort involved, went to the produc- tion of pictures which were not, as formerly, vistas, but were details and impressions of places. Artists began to notice over-tones of feeling. Thus F. O. C. Darley managed to make an Italian street scene seem quaint and tender, while A. F. Bellows, much appreciated in the 'seventies, labored to sweeten and soften a pastoral scene. It was this type of work — a translation into watercolor of the process learned in oil — which was admired in 1875, and not the "mistaken eccentricity" of Winslow Homer's "unfinished" work. Journals of the period which praised the study of "a picturesque old edifice" by Samuel Colman, first president of the American Society of Painters in Water Colors, because "every incident is worked up with great force," scarcely mention that A. H. Wyant, John La Farge and R. Swain Gifford also ex- hibited in that year their modest and deeply felt studies. A. F. Bellows, according to the reviewer in The Aldine, March, 1876, painted the finest picture of the current exhibition, "a noble example of the faithful and true in art;" but there was no men- tion of the nine watercolors shown by Homer, each one of which today would seem closer to the true than any of Bellows' over-worked efforts. Looking through the exhibition catalogues of the Water Color Society, organized in 1866 on the basis of a group of "some twenty artists and amateurs," who had first met in 1850-1, one recognizes that the foreign competition was considerable. In 1873 the annual exhibition contained 354 American works and 204 by English artists. In 1876 the reviewer in the Art Journal noted that "during the first years of the Society the exhibitions were largely made up of foreign pictures." The relative prices are revealing: in 1875 Homer's sketches were priced from $50 to $75, whereas Faustini's "Mutual Friends" was priced at $250, P. Vaini's "Teasing" at $500, and G. House's "Market Day at Honfleur, France" topped everything at $750. It is odd that today "G. House" is not recorded in the standard dictionaries. 11 Yet in spite of the pressure of European taste, the history of American watercolor painting is more than an account of influences. It is a succession of personal struggles to master a delicate medium in such a way that it satisfies the individual tastes of its practitioners. And if there is little continuity to the struggle, except in so far as it parallels that of painters in oil, at least it is evidence of the continuing desire of many native artists to do their work in a sincerely personal way. The developments in style and technique during the second half of the century are indicated in a multiplicity of ideals, rather more than in the coordination of "schools." Whistler, for example, might have been the first to appropriate Monet's technical studies or Degas' studies of movement, yet he followed a path of his own, a painter of impressions, of over-tones and simplifications of mood. Though art his- tory connects him closely with the impressionistic movement, he personally had other aims which were sympathetic to those held by Japanese printmakers. His delicate handling of poetic themes typifies one obvious aesthetic tendency at the end of the century, and one which failed to carry over into the painting of today. John La Farge, one year younger than Whistler, followed a parallel path of individual research against a background of admiration for the art of Japan. But he did so on the other side of the world and was opposite to Whistler in character. Where the latter's concepts were subtle and evasive, La Farge's were formal and concrete. While Whistler solved his problems intuitively, mulling over the beauties of perfect simplicity, La Farge attacked his intellectually and energetically. He de- lighted in strong color and sought it in the brilliant light of the South Seas. He sought Japanese art in Japan, not in prints. He painted his impressions carefully and com- pletely. This was a period of brilliant travel sketches — Robert Blum was making light-hearted records of Japanese scenery at this time, in 1890 — but no artist has made such records as did La Farge, with lyric thoroughness and well-informed delight. Sargent may have had more technical brilliance when he sought in water- colors the contact with reality which he felt he had lost in his portrait-painting career, but obviously La Farge had an incomparably greater sense of structure. Yet Winslow Homer was stronger than La Farge in this respect. From his early neatly tinted drawings, to the more elaborate "English period" compositions, down to the abrupt, crafty and complete records of his later trips, Homer modelled what he saw with implacable respect for the solidity of things. In an impersonal way he selected the complex action of a man paddling, the heaving sweep of water and the dense background of woods, combining them rapidly into an apparently spontaneous vision of the scene. Unlike La Farge, he worked in a wide range of tones which, sometimes merely black and white in subtle combination, more often contain such resonance and inevitability in the choice of greens, blues and browns, that his work seems to be loaded with color. His skill in the handling of washes and accents has been unmatched. Thomas Eakins also ranks above La Farge in structural ability. His watercolors, like his small paintings and sketches in oil, reveal the severe anatomist and analytical observer of genre subjects which do not cater to a particular sentiment, as, for ex- ample, do the reminiscent and anecdotal watercolors of Thomas W. Wood or E. L. 12 Henry. Compared to Homer's early work, Eakins' watercolors, most <>l which date from about 1S7 ^ to 1SS2, seem to be espe< [ally atmospheric and deeply modelled. They are in fact not drawings with added color, bul paintings which hive- the tonality, if not the shine and substance, of bis work in oil. 11 they seem old-fashioned in com- parison with Homer's smashing work oi twenty years later, the difference between them is to be interpreted historically, as an indication of the technical changes which took place in the last part of the century. While Homer was developing from an illustrator to a painter, the entire con- ception of Landscape painting was shifting from the objective to the personal — from the detailed observation of "unspoiled" nature, typified in the work of Cropsey and Sanford Gilford, who are known to have exhibited in the Water Color Society about 1870, to the cultivation of the "motif." The scenery itself became, in the hands of Inness, Martin and Wyant, subordinate to the artists' feelings and aspirations while under the influence of nature. Inness began painting in the detailed manner and ended by painting loosely the mysterious moods of nature, shot through with odd lights and mists of color. Martin, following the Barbizon ideal, achieved gracious and reserved moods, classic in spirit. Wyant, in spite of the fact that he had first learned a comparatively hard style in Germany, became intimately absorbed in the massing of shadows and light, treated as symbols of the good earth. How far they had de- parted from the panoramic can be shown by comparing their work with that of their fellow-artist Thomas Moran, whose admiration for Claude Lorrain and Turner was tempered by his appreciation of the clear air and vast forms of the far West. Another change was activated by a group of painters, centering about Duveneck, who learned the dark manner of oil painting in Munich, but who found light on their watercolor excursions through the country. They wandered as far as Italy, sketching happy mementos of their trips. A few, like Currier, remained abroad. Others, including Shirlaw and Duveneck himself, returned as teachers of the new freedom in handling. Pennington, who studied in Paris instead of Munich, joined the group in Italy and remained more than twenty years abroad, a gay and eclectic reminder of this break with the tradition of tight painting. Still another revolt was in process. The impressionists in France were devising new methods of painting light, each in his own way, with various technical investiga- tions. American artists who attempted the problem followed these individual lines of experiment, eclectically. Theodore Robinson worked out a style which approximates that of Sisley, although he was a pupil and friend of Sisley's more radical contem- porary, Monet. Mary Cassatt turned frankly to Degas, but painted in her own solid manner. Hassam's academic schooling did not prevent his borrowing from the later impressionists and raising his color key to a high pitch. With the tendency toward a more subjective point of view and the post-impres- sionistic reaction against realism, techniques became still more varied and personal. Maurice Prendergast slowly evolved a fine mixture of shimmering tones, thick texture and loosely woven pattern, with which he accomplished effects paralleling those of Cezanne. The modernity of his art can be gauged by comparing it, not merely to the work of his contemporaries like Frank M. Boggs, resident of Paris, or J. Alden Weir, but to that of the younger men who were actually in closer contact with the French movement — Marin, for instance, and Weber. Marin broke through the tameness of his early work about the time of the Armory Exhibition of 1913. One of the few who have worked by preference in watercolor, he composes his New England views and city vortices at white heat, facing the mental image as frankly as Homer faced the woodsman and the fallen tree. He records the essentials as directly as he can and then roughly forces them into order and movement, frequently by adding arbitrary lines which frame or cut across the normal vision. The high air, the sun and the gliding boat are there; and the broken patterns only for a moment disguise the fact that the painter is intensely concentrated on actuality. More plainly realistic are Hopper, Marsh and Burchfield who have escaped French influences and who owe much of their individual power to what they have observed in Homer's work. Differing in temperament, they have discovered that physical order is important and can be made superb, that the life one reports on is an energizing force, and that simplicity of approach acts as a governor to regulate poetic sympathies. Like Marin, Burchfield is almost exclusively a watercolorist. These men appear to have chosen the medium for opposite reasons — Marin demanding quick visualization of his ideas, while Burchfield needs slow manipulation to convey the daintiness of spring air, or the weight of a rainy night. Between them they sum up the scope of modern watercolor techniques. At one extreme the sketch is sublimated. At the other a considered impression is critically executed. Infinite variations are possible between these modes of painting. Davies in his late work sketched Italian scenery with the deliberateness of an Oriental. Demuth, precise and thoughtful as he was, worked with tightly strung and vibrating lines. "Pop" Hart, as independent as anyone, sometimes rolled the sketch around until it accumulated bulk and permanence, sometimes left it stark and brief. Many artists (and there are literally hundreds of accomplished watercolorists who contribute to regional exhibitions) show that the medium today is adaptable, expressive and popular, whether used in an intimate or a formal way. The influence of Sargent is obvious, as is the more profound influence of Homer whose work inspires clarity and probity of method, directness of vision and aesthetic courage. Although present techniques are on the whole only a little more varied than those of the last century, one of the chief points which this exhibition makes is that the medium, instead of being subservient to other processes — engraving and oil painting — today competes with them and takes an independent and respected place in con- temporary art. It has its own syntax and carries its full share of aesthetic meaning, however varied that meaning may be. Alan Burroughs 14 CATALOGUE JOHN SINGLETON COPLEY Born in Huston in 17-57 or 1738; died in London, 1815. The extraordinary portrait painter of Colonial New England, he left Boston tor Italy in 1774 and settled in London, drvoiing DlOSt oi hlS time to lnstoiK.il subjects. 1. CAPTAIN MAITLAND STANDING BY HIS HORSE i2'/ 4 " x 9 7 / 8 " Lent by the Wads worth Athencum JOHN JAMES BARRALET Born in Dublin in 1747 and died in Philadelphia, [812. Besides painting portraits in oil, he did landscapes in watercolor, engraved a few plates and made designs for other engravers. 2. RIVER SCENE, about 1800 i6Y 2 " x 25 3 / 4 " Collection of the Whitney Museum oj American Art MICHELE FELICE CORNE A Neapolitan decorator, born in 1752, reached Salem, Mass. in 1799, painted some oil portraits and landscapes, but chiefly known for his ships and painted walls. He died after ten years activity in Newport in 1832. 3. THE SHIP 'JOHN' OF SALEM, 1803 if/ 2 " x 23 1 //' Lent by the Peabody Museum of Salem 4. SLOOP IN HEAVY SEA, (Design for wall paper) 33 1 / 4 " x i 9 !/ 8 " Lent by the Newport Historical Society JOHN TRUMBULL Son of the Governor of Connecticut, born 1756, Harvard, Class of 1773, Military Secretary to Washington, studied under Benjamin West in London, 1784, became Secretary to John Jay and Fifth Commissioner for the Treaty of 1794. He was President of the American Academy of the Fine Arts, dying in 1843. 5. C AERFIHILLY CASTLE, 1 803 1 1 % " x 1 8 % " 6. WORTHING, SUSSEX, 1803 9"xi 4 !/ 4 " Lent by M. Knoedler & Company MATHER BROWN Born in Massachusetts, 1761, and died in England in 1831, having studied under Benjamin West. He was official portrait painter to the Duke of York. 7. STUDY OF A WOMAN, about 1800 W *5% m Lent by The Addison Gallery of American Art ANONYMOUS 8. CHILDREN WITH GOVERNESS, about 1800-1810 14JCX17X" Lent by Mrs. John D. Rockefeller, Jr. WILLIAM DUNLAP Playwright, producer, historian, Militia paymaster, painter of portraits in oil and miniature, he was the "Vasari" of American painting. Born in 1766, he studied under Benjamin West from 1784 to 1787 "without profit" and became first Vice-President of the National Academy in 1826. He died in 1839. 9. BETWEEN TROY AND LANSINGBURG, 1815 fA" miVz" 10. GLEN'S FALLS FROM THE BED OF THE RIVER, 1816 $ l A" x 11" 11. ON THE SENECA RIVER, 1815 8J4"xii%" Lent by The Brooklyn Museum ALEXANDER WILSON Born in Scotland in 1766, he came to America in 1794 and taught school near Philadelphia. Seven volumes of his life-work, The American Ornithology, were published between 1808 and 18 13, when he died. Two more appeared posthumously. The engraver Lawson taught him to draw and color. 12. AMERICAN RUFFED GROUSE i 5 "xi8" Lent by the Museum of Comparative Zoology, Cambridge, Mass. WILLIAM L. BRETON Designer for engravers and an illustrator. Born, probably in England, in 1773. Active in Philadelphia in the 1830's and died there in 1856. 13. THIRD NEAR RACE STREET, 1829 7%" x 9 1 / 2 " Lent by the Historical Society of Pennsylvania JOHN VANDERLYN Born in Kingston, N. Y., in 1775, and died there in 1852. He went to France in 1796, a pupil of Vincent, and remained there until after the war of 181 2, with the exception of two years in America and travels in Italy. 14. A LADY AND HER SON, 1800 ^"xn/z" 15. VIEW IN ROME, about 1805 i6 3 / 8 " x n 1 // Lent by Mr. Edward Coy\endall CORNELIA A. LUDLOW An amateur artist who studied in the Columbian Academy of Painting, founded by Archibald and Alexander Robertson, miniature painters in New York in 1792. 16. ROMANTIC LANDSCAPE, 1803 14% " x 19%" Collection of The Whitney Museum of American Art THOMAS BIRCH Born in London, 1779; died in 1851. He painted profiles in Philadelphia about 1800 and began painting marines, for which he is famous, in 1807. He was also noted as a landscape painter. 17. AN AFTERNOON ON THE BANKS OF THE SCHUYLKILL, 1 805 6"x6%" 18. FALLS OF THE PASSAIC, about 1820 i?y 2 " x 23 Vi" Lent by Mrs. Marian Sadtler Carson ANONYMOUS 19. GOVERNOR'S ISLAND, 1816 i 4 "xi8" Lent by the Old Print Shop 16 JOHN JAMES AUDUBON The famous naturalist vrai born in 1 I.uti, probably in 1 7K5. Although his watercolor studies of bird-, date from as early as 1805, it was not until l8l0 that he thought ot preparing then tor publication and not until 1827 that the first plates Were issued in Kngland, where he spent much <»t his tune until 1 839. He died in New York, 1 85 1 . 20. THE AMERICAN FOX, about 184s 23" 1 $3* Lent by Mr. Robert Gwynne Stout 21. AMERICAN RUFFED GROUSE, 1805-1810 18" x 22" 22. OSPREY 2(/xi 4 " 23. SPIRIT OR BUTTERBALL, 1815 29" x 24" Lent by the Museum of Comparative Zoology, Cambridge, Mass. 24. ENGLISH REDBREAST, 1826 2o"xi 7 !/ 4 " Lent by the Fogg Museum of Art 25. CAROLINA PARROT, 1 81 1 u"xi 7 " 26. CHUCK WILL'S WIDOW, 1821 io"xi 9 " 27. WILLET, 1 825 16 % " x 1 9 Vi " 28. YELLOW BILLED RAIL, 181 1 9/2" x 17" Lent by Harvard College Library 29. ENGLISH PHEASANT SURPRISED BY A SPANISH DOG i8"x26" Lent by Mr. Stephen K. Nagy 30. WARBLER, 1839 i 5 "xio 3 / 4 " Lent by Mr. Victor Morris Tyler JOHN L. KRIMMEL Born in Ebingen, Wurttemberg in 1789. Probably received instruction in art there under Alexander Rider, whom he accompanied to America in 1810. After only eleven years painting genre and small portraits, he died in Germantown in 1 821. 31. ELECTION DAY, 1818 SY 2 " x 12%" 32. MARKET DAY IN PHILADELPHIA, 1811 12" x i 7 %" Lent by the Historical Society of Pennsylvania JAMES PEALE, JR. Born in 1789, son of James Peale, the miniaturist, he died in 1876 in Philadelphia. Known chiefly as a marine painter, he also painted local scenes for pleasure. 33. BEACH SCENE 8 Vi " x 1 1 " 34. MARINE WITH SHIPPING, 1809 SY 2 " x i^/ 2 " Lent by M. Knoedler & Company ANONYMOUS 35. GLASS BOWL WITH FRUIT, about 1820 i8/ 8 "xi 4 !/ 4 " Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. 17 WILLIAM G. WALL Born in Dublin in 1792. Began his career as an artist in New York in 181 8. Notable for his paintings of the Hudson River, which were done in aquatint by J. Hill and other engravers. He died in 1864. 36. THE BAY OF NEW YORK, about 1823 2i"x2 5 1 / 2 " 37. NEW YORK FROM HEIGHTS NEAR BROOKLYN, 1820-23 i5 1 /4"x2 4 " 38. NEW YORK FROM WEEHAWK, 1820-23 i6"x2 5 " Lent by Mr. Edward W. C. Arnold DAVID CLAYPOOLE JOHNSTON Born in Philadelphia, probably in 1797, he learned engraving, 1815-1819, and became a book publisher, actor and worked for the Pendletons, lithographic printers in Boston, for over ten years. He always had a taste for caricature and exhibited paintings in the Boston Athenaeum between 1828 and 1861. He died in 1865. 39. BEE SWARMING, 1820-25 87 8 "xii%" 40. THE HEAVENLY NINE, 1823 io 1 / 8 "xi 3 %" 41. A STUNNER, 1820-25 13" x 9 %" Lent by the American Antiquarian Society, Worcester, Mass. NICOLINO V. CALYO Born in Italy, 1799, and died in New York, 1884, where he had been established since 1837. His plan to become court painter to the Queen of Spain in 1842 was abortive. He was most noted for his views of the city and city life. 42. THE OYSTER STAND, about 1840 9/2" x 12^" 43. THE SOAP-COCKS, about 1840 8 5 / 8 "xi2!4" Lent by the Museum of the City of New Yor\ 44. VIEW OF THE CITY OF NEW YORK AND THE MARINE HOSPITAL TAKEN FROM WALLABOUT, about 1838 i6 3 /i"x2 5 " Lent by Mr. Edward W. C. Arnold HENRY INMAN Bom in 1801 in Utica, N. Y.; died in 1846. He painted portraits, landscapes and genre and was associated with Cephas G. Childs in a lithographic printing and publishing business between 1831 and 1835. 45. VIEW OF THE BATTERY, NEW YORK, 1830 9 3 / 8 " x 12^" Lent by the Museum of the City of New Yor\ (The J. Clarence Davies Collection) ANONYMOUS 46. LANDSCAPE WITH DEER AND WATERFALL 21 1 / 2 " x 27/2" Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. GEORGE LEHMAN Painter, engraver and publisher of prints, born in Lancaster County, Pa. Noted for his paintings of Penn- sylvania towns. He died in Philadelphia in 1870. 47. WIRE BRIDGE AT FAIRMOUNT WATER WORKS 12 JJ" x2o 1 / 2 " Lent by the Historical Society of Pennsylvania 18 GEORGE HARVEY, A. N. A. Born in England about 1800. Came to New York in 18^0. After painting, miniature! in Boston from i v -"< to 1836, he became interested in atmospheric elicits oi the American climate and painted landscapes from Virginia to Canada. The exact date oi lm death is unknown, but occurred in Philadelphia sometime after 1877. 48. ENTRANCE TO A COAL MINE, 1840-45 to" 1 13%" 49. HOLUDAYSBURG, PA., [840-45 *"xi$%* 50. FARM NEAR SOUTH LINE OF MICHIGAN, 1840-45 H%" 1 13/4" Lent by Kennedy & Company HENRIETTA MARIA HOMER Mother of Winslow I Ionur. Horn in BucksDOIt, Maine, 1809, she studied art in school and after her marriage. Painted throughout her life and exhibited occasionally. 51. SWEET PEAS n"x 18" Lent by Miss Maria W . Blanchard JOHN WILLIAM HILL Born in England in 1812, son of John Hill, the engraver, who came to New York in 1816, he specialized in watercolor landscapes after working in aquatint and lithography. He died in 1897. 52. THE CIRCULAR MILL, FOOT OF KING STREET, NEW YORK, 1833 9 %" x i 3 !/ 2 " Lent by Mr. Edward W. C. Arnold 53. PORTRAIT OF ARTIST'S DAUGHTER, 1868 i 5 y 2 "xif 54. WEST NYACK, N. Y, 1868 12" x 17" Lent by the Old Print Shop MARY HEMPSTEAD BOLLES Born in New London, 1811, and died there in 1859. The wife of John Roger Bolles, a printer and publisher, who issued pamphlets for children illustrated with woodcuts after her designs. 55. LANDSCAPE, about 1840 1514" x 21 !4" Lent by the Antiquarian & Landmarks Society of Connecticut AUGUST KOLLNER Born in 1813 in Dusseldorf, he came to America about 1840 and drew city views which were published by Goupil. He died in 1883. 56. FAIRMOUNT PARK, 1862 io 1 / 2 "xi 3 " 57. NEAR PHILADELPHIA, 1863 6"x 9 1 / 4 " Lent by Kennedy & Company JAMES HENRY WRIGHT Portrait and landscape painter, born in 1813 and died in Brooklyn in 1883. 58. LANDSCAPE 14" x 17" Lent by Museum of Art, Rhode Island School of Design 19 FELIX O. C. DARLEY Accomplished illustrator, was born in Philadelphia in 1822 and died in 1888. His watercolors recall his travels in Europe. 59. A STREET SCENE IN ROME 7 1 / 2 "x9 1 / 2 " Lent by The Toledo Museum of Art THOMAS WATERMAN WOOD Born in Montpelier, Vt., in 1823 and died in 1903. Self-taught, he spent three years abroad studying the old masters. He was President of the National Academy from 1891 to 1899, an d President of the American Water Color Society from 1878 to 1887. 60. AMERICAN CITIZENS, about 1867 2i 1 / 2 "x 4 o" 61. CROSSING THE FERRY, 1878 27"x 34 1 / 2 " Lent by the Wood Art Gallery WILLIAM MORRIS HUNT Born in Brattleboro, Vt., in 1824, he studied abroad and was influenced by Millet. Returning to Newport in 1855, ne settled in Boston, in 1862, becoming a teacher of wide influence. He died in 1879. 62. LANDSCAPE 8"xioff" Lent by The Art Institute of Chicago GEORGE INNESS Born in Newburgh, N. Y., in 1825, he studied abroad in independent fashion and evolved his own illusive and poetic style, working in the vicinity of New York City. He died on a trip to Scotland in 1894. 63. JUNE, about 1878 6%"xi2!/ 8 " Lent by The Addison Gallery of American Art 64. LANDSCAPE AND LAKE, about 1885 i^%"xi 9 %" 65. LANDSCAPE WITH RIVER, about 1876 i 3 %"xi 9 %" Lent by Mr. Bartlett Ar\ell 66. NIAGARA FALLS 16" x 25" Lent by Estate of Mrs. Carl Stoec\el ALBERT FITCH BELLOWS Born in Milbury, Mass., in 1830; died in 1883. He studied in Paris and Antwerp and travelled in England and Wales. His watercolors were much appreciated in the early exhibitions of the Water Color Society from 1867 on. 67. NOOK AT TOPSFIELD, MASS. 9" x 13 Y 2 U Lent by Museum of Art, Rhode Island School of Design JAMES MCNEILL WHISTLER Born in Lowell, Mass., in 1834, he settled in Paris in 1855, removed to London in 1859, travelled extensively, but made Chelsea his headquarters. Famous for his controversial gifts and his adaptations of Japanese art. Elected President of the Royal Society of British Artists in 1886. He died in 1903. 68. CHELSEA SHOP 4 % " x 8 % " Lent by The Art Institute of Chicago (Walter S. Brewster Collection) 6 9 . THE FIELDS AT LOCHES, 1888 5"x8 3 / 8 " 20 7 0. GREEN AND SILVER — THE PHOTOGRAPHER, 1888 5 %" xH%" Lent by Mr. Edwin .1. Seasongood 71. GOSSIPS, AJACCIO io?4* x 7 " Lent by Albright Art Gallery 72. LITTLE SCHEVENINGEN — GREY NOTE 4 J / 4 x8/ 4 " Lf«/ />y Museum of Fine . IftS, Boston jt,. SCENE ON THE MERSEY Hy 2 "x^/ 8 n Lent by The Metropolitan Museum of Art 74. SUNDAY AT DOMBERG iffi x'i 9 !/ 2 " Lf/7/ £)> Fo^g Museum of Art JOHN LA FARGE Landscape and figure painter, decorator, glass painter, author and intellectual leader, he was born in 1835 in New York and died in Providence, 1910. He travelled extensively in the South Seas and Japan. 75. ADORING ANGELS, about 1886 Wx^/z" Lent by Museum of Fine Arts, Boston 76. BRIDLE PATH, TAHITI 2 9 !/ 2 " x 33" Lent by Fogg Museum of Art 77. GIRLS SLIDING DOWN A WATERFALL 17% "x n%" Lent by Mrs. Algernon Coolidge 78. MEDITATION OF KUWANNON i2 5 / 8 " x io!4" 79. PEAK OF MONA ROA, SOCIETY ISLANDS i8!/ 2 " x 19" 80. TOKIO GEISHA DANCING IN THE HOUSE OF OUR NEIGHBOR, THE PRIEST i 3 %" x 9" Lent by Bowdoin Museum of Fine Arts 81. PRESENTATION OF GIFTS, SAMOA, 1890 u"x8!/ 2 " Lent by Mrs. Banc el La Farge 82. SPEARING FISH i 3 "x2o 3 / 4 " Lent by The Addison Gallery of American Art 83. LANDSCAPE WITH WATERFALL, 1886 n" x y%" 84. TWO FIGURES 8%"x 7 3 / 4 " Lent by Mrs. Roger Merriman WINSLOW HOMER "Father" of the modern American watercolor technique, was born in Boston in 1836. He began his career as an illustrator, but won success in 1863 with his first exhibited oil paintings. His work in both oil and watercolor became more poetic after a trip to England and gathered force throughout his career which ended in 1910. Though he lived in Prout's Neck, Me., from 1883 on, he took frequent trips to the West Indies, Florida, the Adirondacks and Canada. 85. ADIRONDACKS, 1892 23 Vi " x 29 Vi " Lent by Fogg Museum of Art 21 86. AFTER THE TORNADO, BAHAMAS, 1 899 i 4 j/ 2 "x2i" Lent by The Art Institute of Chicago 87. BEAR AND CANOE, 1895 i 4 "x2o" 88. SHOOTING THE RAPIDS, 1902 i 3 %"x2i 3 /4" Lent by The Brooklyn Museum 89. NASSAU, about 1898 24" 'X30" Lent by Mrs. Robert Wheelwright 90. PROUT'S NECK SURF, 1894 23%" x$i l A" Lent by The Philadelphia Museum of Art 91. RUM CAY, BERMUDA, about 1900 i^'xaoJi" Lent by Worcester Art Museum 92. A VOICE FROM THE CLIFFS, 1883 20%" X2 9 %" Lent by Mr. Edward Coy\endall 93. THE WRECK OF THE IRON CROWN, 1881 2o"x2 9 3 / 8 " Lent by Mrs. Bancel La Farge HOMER MARTIN Born in Albany in 1836; died in 1897. The influence of the Hudson River School of landscape painting was tempered by that of the Barbizon School after two trips abroad in 1876 and 1881-1886. He was one of the founders of the Society of American Artists. 94. NEAR THE SHORE, about 1892 9 1 / 2 "xi 3 3 4" Lent by Mr. Hersey Egginton 95. RUINED ABBEY OF GRESTAIN, NORMANDY, 1885 io%"xi 4 " Lent by Lawrence Art Museum, Williams College 96. SAND DUNES, 1883 f/ 2 " ' xi^A" Lent by the Milch Galleries 97. STRAND AND WRECK 10" x 14" Lent by The Addison Gallery of American Art ALEXANDER H. WYANT Born in Port Washington, Ohio, in 1836, he studied in Germany and was influenced by Turner and Constable. He first exhibited in New York in 1865 and was one of the original members of the American Water Color Society. He died in New York in 1892. 98. FOREST GLADE, about 1 885-1 890 io 1 / 2 "xi5" Lent by Mr. Hersey Egginton 99. LANDSCAPE 10" xi2& w Lent by Museum of Art, Rhode Island School of Design 100. A LOWERY DAY 14%" x 21/2 " Lent by the Babcoc\ Galleries 101. THE SWALE, about 1888 14%" x2i 1 / 8 " Lent by The Addison Gallery of American Art 22 THOMAS MORAN Born in England in 1837; died in [926. Taught himself as .1 young man in Philadelphia and vrai influenced by Claude- Lorrain and Turnei aftei .1 trip to England in 186a. 1 i< accompanied » Government Expedition to the Yellowstone in 1 87 1 . Noted as .1 watc-rcolorist and etcher. 102. CLIFFS OF GREEN RIVER, WYOMING, 1879 QJi'xia' Lent by the Milch Call cries 103. SIERRA NEVADA RANGE u" x 14" Lent by Miss Ruth B. Moran 104. TETON RANGE, IDAHO 13%" x 19!//' Lent by the Babcoc\ Galleries WALTER SHIRLAW Born in Scotland in 1838, the son of American parents, who brought him to America at the age of three. He studied abroad seven years, mostly in Munich, and on his return to America became known as a teacher. He was the first President of the Society of American Artists and died in 1909. 105. BALL GAME, MUNICH 8,V' x ic,,-.'' Lent by Museum of Art, Rhode Island School of Design HENRY BACON Born in Haverhill, Mass., in 1839, he went to France in 1864 and lived much of his life there. He died in 1912. 106. AMERICAN BOATS IN THE VENICE HARBOR 13" x i 9l %" 107. MY CAMELS RESTING, 1911 i 3 "xi 9 5 /8" Lent by Museum of Fine Arts, Boston R. SWAIN GIFFORD Landscape painter and etcher, born on Naushon Island, Mass., 1840, and died in New York, 1905. He travelled in Oregon and California in 1869 and later in Europe, Algiers and Egypt. 108. THE HEN AND CHICKENS LIGHTSHIP OFF WESTPORT, MASS., 1889 i 3 "xi6H" Lent by Fogg Museum of Art EDWARD L. HENRY Born in Charleston, S. C, in 1841; died in New York, 1919. Pupil of Gleyre in Paris, he accompanied the armies in Virginia during the Civil War and specialized later in genre subjects. 109. ENTERING THE LOCKS, 1899 ii"xi 9 3 / 4 " no. MACNETT'S TAVERN, 1909 14%" x 22" Lent by the Albany Institute of History and Art J. FRANK CURRIER Born in 1843, in Boston, he studied in Antwerp and Munich, where he lived until a few years before his death at Boston in 1909. in. WOODY LANDSCAPE, 1878 10JCX14K" Lent by Mr. Frederic Newlin Price 23 THOMAS EAKINS Born in Philadelphia in 1844, he studied abroad from 1866 to 1870, but developed his own solid style in serious genre and portraiture. Denied recognition during his lifetime, he was highly rated immediately after his death in 1916. 112. JOHN BIGLEN IN A SINGLE SCULL, about 1873 i6%"x2 3 " 113. NEGRO BOY DANCING, 1878 18%" x22 5 / 8 " 114. SPINNING, 1881 i 4 "xio 7 / 8 " 115. TAKING UP THE NET, 1881 9 1 / 2 "xi4 1 / 8 " Lent by The Metropolitan Museum of Art 116. SEVENTY YEARS AGO, 1877 12" x 9" Lent by Mr. Eran\ Jewett Mather, Jr. 117. WILLIAM H. MACDOWELL, 1891 27"x2i!/ 2 " Lent by the Babcoc\ Galleries 118. THE ZITHER PLAYER, 1876 i2%"xioy 2 " Lent by The Art Institute of Chicago WILLIAM H. HOLMES A self-taught painter, was born in Ohio in 1846 and died in 1933. He was Curator of the National Gallery of Art, Washington, and Geologist and Archaeologist of the Smithsonian Institution. 119. SUNRISE, CATALINA ISLAND i7"xi 9 %" Lent by Mrs. William C. Endicott FRANK DUVENECK Born in Covington, Ky., in 1848; died 191 9. He entered the Royal Academy of Munich in 1870 and became the leading teacher of his time. Returning to Cincinnati in 1888, he headed the Art Academy there. 120. LANDSCAPE NEAR POLLING, 1879 I2j/ 2 "xi6" Lent by Mr. Charles E. Mills ABBOTT HENDERSON THAYER Born in Boston in 1849 an d died in Monadnock, N. H., in 1921. After four years in Paris, 1875-1879, he specialized in ideal figure painting and decorations, retiring about 1890 to Monadnock where he had many pupils. 121. MONADNOCK WINTER, 1905 io/z" x 12%" Lent by Mr. George J. Dyer WILLIAM R. MILLER Born in New York in 1850 of German parents, he studied in Germany, 1 871-1873. He died in 1923. His principal work was in engraving. 122. CATSKILL CLOVE, 1856 19%" x 14%" Lent by The Metropolitan Museum of Art THEODORE ROBINSON Born in Vermont in 1852 and died in New York, 1896. A friend and pupil of Monet, he returned to this country in 1880 and divided the rest of his life between Europe and America. 123. CHILDREN FISHING, 1 881 8 5 / 8 "xi2%" 24 i2 4 . YOUNG WOMAN, 1889 i 3 3 / 4 "x9 7 / 8 " Lent by The Brooklyn Museum J. ALDEN WEIR Born in West Point, N. Y., in 1852 and died in IOIQ. Student at the Ecole da Beaux Arts in Paris in 1873, his style was tunned by association with Hastian-Lepa^e. Received many awards during Ins after. 125. AN OLD FASHIONED FIGURE, about 1890-1895 13&* 1 10" 126. TWO FIGURES, about 1 890- 1 895 9 I /2"x6 1 / 2 " Lent by Mr. Hersey Egginton 127. ROSES, 1885 i 3 !4"xio" Lent by the Macbeth Gallery R. G. HARPER PENNINGTON Born in Newport, R. I., in 1854; died in 1920. Pupil of Geromc, Carolus-Duran, and also of Whistler, he spent more than twenty years abroad, including some time in Italy. 128. PERGOLA AT PEGLI NEAR GENOA, 1879 10" x 14" Lent by Mr. Charles E. Mills FRANK M. BOGGS Born in Springfield, Ohio, in 1855, he studied in Paris and remained there until his death in 1926. 129. ALONG THE SEINE, 1905 io"xi 5 3 / 8 " Lent by The Brooklyn Museum MARY CASSATT Born in Pittsburgh in 1855, and resident in France from 1868 to the time of her death in 1926, she came under the influence of Degas about 1886. Her taste played a part in the formation of the Havemeyer collec- tion of modern French painting. 130. JEUNE FEMME ET ENFANT i 9 %" x i 3 !/ 2 " 131. LA SERRE i4 1 / 4 "x23 1 / 2 " 132. TfeTE DE FEMME 16" xiafc" Lent by Durand-Ruel, Inc. JOHN SINGER SARGENT Born in Italy of American parents in 1856, he died in 1925, a famous portraitist whose reputation began at the age of twenty-one. He was at home in England as much as in the United States. His last twenty-five years were devoted chiefly to murals and watercolors. 133. BOBOLI FOUNTAIN, 1910 13 1 //' x i 9 3 / 4 " 134. CORFU — A RAINY DAY, 1909 i 4 / 2 " x 21 tf" Lent by Museum of Fine Arts, Boston 135. IN A HAYLOFT i 5 %" x n 3 / 4 " 136. SANTA MARIA DELLA SALUTE i8 1 / 8 "x2 3 " 137. A TRAMP i 9 5/ 8 "xi3%" Lent by The Brooklyn Museum 25 138. MUDDY ALLIGATORS, 1917 i3)4"xao!4" Lent by Worcester Art Museum ROBERT F. BLUM Born in Cincinnati in 1857, he began his career as a lithographer and illustrator. He made many trips to Europe and in 1890 visited Japan. He died in 1903. 139. MARKET SCENE, SPAIN, 1881 ij l A"x2iY 2 Lent by The Brooklyn Museum HORATIO WALKER Born in 1858 in Canada, he studied miniature painting, but came to New York in 1878 to open a studio. He was a member of the National Academy. Died in 1938. 140. TURKEYS, 1898 ii"xi6" Lent by the Canajoharie Library and Art Gallery CHILDE HASSAM Born at Dorchester, Mass., in 1859; died in 1935. Beginning as an illustrator he spent three years in Paris and came under the influence of the Impressionists. On his return he lived in New York. 141. BIG SYCAMORE, HARPERS FERRY, 1926 271/2" x 33" Lent by Fogg Museum of Art 142. EAST HEADLAND, 1912 14" x 20" 143. SUNDAY MORNING, APPLEDORE, 1912 13%" x i 9 3 / 4 " Lent by The Brooklyn Museum 144. UNION SQUARE, NEW YORK, 1893 15 J£" xn" Lent by the Milch Galleries MAURICE PRENDERGAST Born in Newfoundland in 1859, he grew up in Boston, spent three years in Paris. He became slowly recognized as one of the foremost American Impressionists. He died in 1924. 145. APRIL SNOW, SALEM, 1906-1907 i 4 3 / 4 "x2i 5 / 8 " Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. 146. BATHING BEACH, ANNISQUAM, 1910 i^A" xi 9 %" 147. THE LOUVRE i 3 3 / 8 " x i 9 V 2 " 148. MAYPOLE, 1902 io%"xi5 3 / 8 " 149. ST. MARKS, VENICE iaJJ" x2o 1 / 8 " 150. SALEM HARBOR, No. 1, 1922 13)4" x 19/2 " Lent by Mr. Charles Prendergast 151. HANDKERCHIEF POINT 2o"xi 3 %" Lent by Museum of Fine Arts, Boston 152. RAINY DAY, VENICE, 1898 16^" x 12" Lent by Mr. and Mrs. John Kraushaar 26 H. BROADFIELD WARREN Born in Manchester, England, in 1 859 J studied art at Harvard University under Charles II. Moore and Charles Eliot Norton, and became instructor in wratcrcolor, Department oi Architecture. He died in "Ml- 153. THROUGH THE HIGH PASTURES, DORSET, 1904 14 " x iy%" Lent by Fogg Museum of Art ARTHUR B. DAVIES Born in Utica, N. Y., in iS(>.s; died on a trip to Italy in 1928. Self-taught for the moft part, he developed a poetic style on classic themes, attempted cubism and worked in many mediums. 154. MOTHER AND CHILDREN, about 1895 5 '/ 8 w x 10" Lent by The Addison Gallery of American Art 155. PASSING OF DREAMS ^"xiG" Lent by Museum of Fine Arts, Boston 156. ISOLA TIBERNIA, 1927 9 , / 2 "xi2 , / 4 " 157. VIEW OF LUCCA, 1927 9 , / 2 "xi2 1 / 4 " Lent by M. Knoedler & Company GEORGE LUKS Born in Williamsport, Pa., in 1867, he developed as an illustrator and cartoonist after study in Dusseldorf, Paris and London. Early in the present century he became one of the leaders of the new "American School." He died in 1933. 158. BEGGAR WOMAN, 191 5 i8 3 / 4 " x i 4 3 / 4 " Lent by Mr. Arthur F. Egner 159. COAL TOWN, 1924 I3% m xi9% m Lent by Phillips Memorial Gallery 160. PLUCKING CHICKENS, 1915 20" x i2 3 4" Collection of the Whitney Museum of American Art GEORGE OVERBURY HART Generally called "Pop" Hart, he was born in Cairo, 111., in 1 868. Self-taught, he travelled in Italy, Egypt, Tahiti, Samoa, Hawaii, Iceland, West Indies, France, Mexico and Morocco until his death in 1933. 161. THE MERRY-GO-ROUND, OAXACO, MEXICO, 1927 if A" x2 3 1 / 4" Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. 162. OLD FRENCH MARKET, NEW ORLEANS, 1917 i 4 1 / 8 "x 2 2 1 / 2 " Lent by The Brooklyn Museum 1 63. PIG MARKET — MEXICO, 1 924 17 y 2 " x 22 % " 164. TAHITI GIRLS, 1903 i^A" x nVz" Lent by Mr. Arthur F. Egner 165. ROAD TO FEZ i6/ 2 "x22 1 / 2 " Lent by Cleveland Museum of Art 166. THE BAHAMAS I3 y 8 " x2I JL" Collection of the Whitney Museum of American Art 27 ALFRED H. MAURER Born in New York in 1868, he studied there and in Paris, but was one of the leaders in the Armory Exhibition of 1913 and a supporter of Cubism. He died in 1932. 167. SWEET PEAS 2o 3 / 4"xi7 1 /T Lent by Phillips Memorial Gallery JOHN MARIN 1872- 168. GREY DAY — EBB TIDE, CAPE SPLIT, MAINE, 1936 19%" x2 4 %" 169. HEADED FOR BOSTON, 1923 25 3 /4"x28%" 170. LOWER MANHATTAN FROM THE RIVER, No. 2, 1921 26 3 4"x 3 2" 171. PHIPPSBURG, MAINE, 1932 2o 3 4" X25 1 //' 172. THE PINE TREE, SMALL POINT, MAINE, 1926 22/2" x 27K * 173. STONINGTON HARBOR, MAINE, No. 4, 1926 23" x 28" 174. WEST FORTY-SECOND STREET FROM FERRY BOAT, 1929 25%" x 32*4" 175. WHITE MOUNTAINS, AUTUMN, 1927 2 5 1 / 2 "x3o 1 / 2 " 176. WOMEN AND SEA— 1, VINTAGE 1941 2 3 3 4"x 3 o 3 4 // 177. YOUNG MAN OF THE SEA— MAINE SERIES No. 10, 1934 2i%"x27 3 4" Lent by An American Place MAX WEBER 1881- 178. A CUP OF TEA, 1910 Lent by Mrs. Aaron Davis 179. SUMMER, 1917 Collection of the Whitney Museum of American Art 180. CARD PLAYERS, 1917 181. FISHERMAN, FISH AND SEA GULLS, 1917 182. THE HUDSON RIVER, 1910 183. INTERIOR WITH MEN, 1919 Lent by the Artist GEORGE BELLOWS Born in Columbus, Ohio, in 1882 and died in New York in 1925. Pupil and friend of Robert Henri, he won rapid success with his lively paintings and dramatic lithographs. 1 84. UNDER THE ELEVATED 5 % " x 8 % " Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. EDWARD HOPPER 1882- 185. ASH'S HOUSE, 1929 i 4 "x2o" Lent by Mr. William Paley 28 48 x 24 X x 18H" 22* x 19 23' XI7" 19' X22" 2l' Xl8" i86. BEAM TRAWLER TEAL, 1926 14" x 20" Lent by Mr. Franks K. M. Rehn 187. BOX FACTORY, GLOUCESTER, 1928 i 4 "x2o" Lent by Museum of Modern Art, Gift of Mrs. John D. Rockefeller, Jr. 188. MARTY WELCH'S HOUSE, 1928 14**20' Lent by Mr. John J. Clancy 189. METHODIST CHURCH TOWER, 1930 2 4 3 / 4 " x 19I/4" Lent by Mr. and Mrs. Lesley G. Sheafer 190. MY ROOF, 1928 W/i"xilVi" Lent by Dr. Henry H. M. Lyle 191. WINDY DAY, 1938 i 9 1 / 2 "x2 7 , / 2 " Lent by the Fran\ K. M. Rehn Gallery CHARLES DEMUTH Born in 1883 in Lancaster, Pa., and died there in 1935. Nominally a pupil of Chase and Anshutz at the Pennsylvania Academy, he developed individually through study of French Modernism. 192. AFTER SIR CHRISTOPHER WREN, 1920 Anonymous Loan from the Worcester Art Museum 193. EGG PLANT AND SUMMER SQUASH, about 1927 Lent by the W adsworth Atheneum 194. FLOWERS, 1925 Lent by Museum of Fine Arts, Boston 195. GLADIOLI, FLOWER STUDY No. 4, 1925 Lent by The Art Institute of Chicago 196. ILLUSTRATION — BEAST AND THE JUNGLE, 1919 197. ILLUSTRATION — TURN OF THE SCREW, 1918 198. ILLUSTRATION — TURN OF THE SCREW, 1918 Lent by Mr. Fran\ O shorn 199. PLUMS, 1925 Lent by The Addison Gallery of American Art 200. RED CHIMNEYS, 1918 Lent by Phillips Memorial Gallery 201. IN VAUDEVILLE, 1916 Lent by Mr. Robert E. Locher CHARLES BURCHFIELD 1893- 202. NOONTIDE IN LATE MAY, 1917 2 i 1 / 4 " x ij%" 203. TALL WHITE SUN, 1917 21^" x 17/4" Collection of the Whitney Museum of American Art 29 23%" x 19%" 13^2" x. 9 j /; I7K2" Xll'/g" 17/4" XIl'/2" 8" X 10 8" xio'/ 4 " 8" xio!4" I7'/4" XIl3/ 4 " 9%" XI3 3 //' 10 %' x 7l6 28" X33" 35" x 39 " *5" x 34 " 15" x i 9 !4" ilVi" X17K" 204. LITTLE ITALY IN SPRING, 1927-1928 26*4" x 39%" 205. RETURN OF THE LAKE FISHERMEN, 1930 23*4* x 33" i>«/ £)/ Mr. #«*/ Mr^. Lesley G. Sheaf er 206. THE ROAD IN MARCH, 1939 i8"x2 5 " Ld-72/ £)/ Mrs. R. S. Maguire 207. SIX O'CLOCK 32 Vi " x 38 Vs " Lent by the Syracuse Museum of Fine Arts 208. THE WIND AND THE RAIN THROUGH THE TREES, 1935 i 9 V 2 " x 29V2" Lent by Mr. Charles J. Rosenbloom GEORGE GROSZ 1893- 209. COUPLE, 1934 2 4 3 4"xi7 1 / 4" Collection of the Whitney Museum of American Art 210. MESSENGER OF GOOD WILL, 1928 211. OUT FOR A WALK, 1935 212. MODEL UNDRESSING, 1939 Lent by Associated American Artists 213. DUNES, CAPE COD, 1939 214. NEW YORK VISTA, 1935 Lent by the Artist ADOLF DEHN 1895- 215. AUTUMN, NEWBURGH, 1941 29"* 35" 216. THE BERKSHIRES, 1941 28"x 3 6" 217. BETWEEN THE ACTS, 1941 2 9 "x36" 218. GUNNISON VALLEY, 1941 24"x 3 2" 219. NEW ORLEANS NIGHT, 1939 i 9 1 / 2 "x28" Lent by Associated American Artists 220. COLD DAY, 1941 i9 1 / 2 "x28" Collection of the Whitney Museum of American Art REGINALD MARSH 1898- 221. NEW YORK FROM WEEHAWKEN i 4 3 4"x22 ,/ Lent by the Worcester Art Museum 222. CONEY ISLAND BEACH, No. 3, 1940 26 1 / 2 "x 4 o" 223. MEMORIES OF THE STORK CLUB, 1940 26 1 / 2 "x 4 o" 224. SUN BATHERS, 1938 14" xi 9 %" Lent by the Fran\ K. M. Rehn Gallery 30 WHITNEY MUSEUM PUBLICATIONS The following artists included in "A History of American Watercolor Painting" are subjects of monographs in the American Artists Series published by the Whitney Museum of American Art. GEORGE BELLOWS by George W. Eggcrs MARY CASSATT by Forbes Watson ARTHUR B. DAVIES by Royal Cortissoz CHARLES DEMUTH by William Murrell EDWARD HOPPER by Guy Pene Du Bois GEORGE LUKS by Elisabeth Luther Cary MAURICE PRENDERGAST by Margaret Breuning Each volume contains a critical essay by an authoritative writer on art, a short biography, a bibli- ography and twenty full-page reproductions. PRICE $1.00 THOMAS EAKINS by Lloyd Goodrich PRICE $7.50 ON SALE AT THE INFORMATION DESK WHITNEY MUSEUM OF AMERICAN ART THE MACMILLAN COMPANY • PUBLISHERS • NEW YORK • N. Y. PRINTED BY L. F. WHITE COMPANY, INC., N. Y. »._ »VMllN»r MUM DM ,«,..,. ND1805 W5 I I II I 3 2790 00003 1714 DATE DUE .te *? ft On GAYLORP PRINTED IN U.S.A WHITNEY MUSEUM OF AMERICAN ART * IS OPEN FREE TO THE PUBLIC DAILY EXCEPT MONDAYS FROM 12 TO 4 P. M.